ABSTRACT
163The year was 1921. The course of “actor’s psychological technique” was huge: along with my assistant, I could hardly fit it into two years. We familiarized the students with all the “elements” that constituted, according to our deep conviction, an actor’s sound creative state. We trained in our students each of the elements separately . . . As for the results we counted on, they were missing: the students’ heads were full of fascinating information; they clearly distinguish the shortcomings and merits of someone else’s acting. Personally, however, they, could, alas, do very little . . . This is considering that there were no ungifted people among them.
